A THOUSAND WORDS - Alex Waterhouse-Hayward's blog on pictures, plants, politics and whatever else is on his mind.




 

The Unanswered Question Never Asked
Friday, November 15, 2019



Lauren, Brother Edwin & Rebeca

The Unanswered Question is a musical work by American composer Charles Ives. Originally paired with Central Park in the Dark as Two Contemplations in 1908, The Unanswered Question was revived by Ives in 1930–1935. As with many of Ives' works, it was largely unknown until much later in his life, and was not performed until 1946.


Against a background of slow, quiet strings representing "The Silence of the Druids", a solo trumpet poses "The Perennial Question of Existence", to which a woodwind quartet of "Fighting Answerers" tries vainly to provide an answer, growing more frustrated and dissonant until they give up. The three groups of instruments perform in independent tempos and are placed separately on the stage—the strings offstage.

Wikipedia

I experienced this most interesting work at the Palacio de Bellas Artes in Mexico City around 1973. While I was and still am an amateur in relation to anything musical I did notice that this work had two conductors. One of them directed the strings while the other the woodwinds. The trumpet player was on his own.

Musing about the Unanswered Question has led me to today’s blog.

My whole life has been one of mystery, of not knowing the answers to doubts or facts about my existence. In most cases I might have received the important information that now eludes me. What is my excuse? I was too stupid to ask or be curious when the people around me were still alive to answer.

I never asked my mother how she met my father. I never asked how it was that if my father was divorced (not recognized in Argentina at that time) was she able to marry in Montevideo (not even sure of that) and why when we traveled my passport listed my surname as Waterhouse-Hayward and hers her paternal name de Irureta Goyena.

I never dared to ask my father as to why when offered the job to be editor of the Buenos Aires Herald he threw an inkwell at the publisher.

My mother, grandmother and I left Buenos Aires in 1954 abandoning my alcoholic father. My mother made no effort to communicate our leaving nor was there any contact afterwards. 

In 1964 I returned to Buenos Aires to do my military service (telling my mother I felt patriotic) while my real intention was to find my father. I did and spent many weekends chatting with him. I remember nothing and I never asked him what it felt when he found out we were gone and never heard from us again.

Shortly before my mother died in 1972 she told me that she had lost her Roman Catholic faith in relation to no longer believing that God would intercede when she prayed. She now believed in an aloof God. I was quiet.

The rest of my life was full of such incidents in which I was not curious enough to ask. The last person who might have answered some of them, my first cousin and godmother Inesita O’Reilly Kuker (she died in 2017) faked (in my opinion) no knowledge to my persistent questions about my father.

But there is one question that I knew I could never ask. And I had ample opportunity to ask it.

My dear mentor, saxophone teacher, theology teacher who clued me to the wonders of photography, Brother Edwin Reggio, C.S.C. died in April 2013. This gentle and kind man was always in my life and I would visit him in Austin, at St. Edward''s University whenever I could. Incredibly both my wife and two granddaughters were able to meet him a few times.

My granddaughter Rebecca when she was 11, was allowed (in fact she was the first woman) to have stayed in a room at the all-men brother’s residence, St. Joseph Hall. I was in another. I have fond memories of breakfast and of Rebecca sitting at a separate table surrounded by brothers with whom she chatted. I had visions of Christ as a young boy surrounded by scholars at the temple.

I never dared (nor wanted to) ask Brother Edwin, “Did you ever have any doubts about your beliefs?” There are some questions that should never be asked.

That one is for sure.





Pianos & not so pianissimo
Thursday, November 14, 2019


Filomena de Irureta Goyena


Because I have written 4885 blogs to date I have no memory of many of them. This one on pianos (and see below) suddenly appeared in my memory during a midnight bout of my usual insomnia. Thinking about it I do know I have written blogs about ties, beds and bras. Looking at this one on pianos I rather enjoyed it.

Just today I located a review of a March 1966 concert by Thelonius Monk in Geneva by Argentine writer Julio Cortázar. Alas as nice as it is only those who can read Spanish will savour it as I did!


Corey Hamm - September 4 - 2017 - Roy Barnett Hall UBC School of Music

The piano as a musical instrument has been in my mind as of late. Thinking about it I realized I have quite a few photographs of people by pianos either pianists or simply sitting by one.
My first introduction to the piano came at age 8 when my parents took me to the Teatro Colón in Buenos Aires for a concert featuring Arthur Rubinstein.

My mother did not own a piano but my grandmother did. We would often go in Tram 35 to my Abuelita’s flat and my mother would first accompany my her (she was a coloratura soprano) and my Uncle Tony who was a fine tenor. They would sing American musical songs. Then my mother would play (she read very well) Chopin and in particular I have a fond memory of Beethoven’s Moonlight Sonata. 


Jane Coop at Cecil Green, UBC My inspiration for the Corey Hamm portrait

My mother did not have access to a piano until she began to teach at the ALCOA Aluminio School in Veracruz, Mexico in the late 50s. The few students who attended the school did so at my mother’s home so a piano was bought. When I visited her she would play at my request the US Marine Corps Hymn.

In the late 60s she bought an upright piano a black Bechstein. When she moved to live with us (Rosemary, Alexandra and Hilary) we were having money problems so she sold the piano. I was heartbroken at her decision. I have never forgotten her sacrifice.


Filomena de Irureta Goyena (my mother) at the piano sometime in the late 30s in Manila

Around 1998 our neighbour across the street on Athlone Street (she was in her 80s) told us that she was looking for a home for her Chickering baby grand. Her grandmother had given it to her when she was a little girl. She offered it to us for $500. I was easily transported from her living room to ours.

Shortly after we obtained the Chickering I decided to give a summer party featuring alto saxophonist Gavin Walker and pianist Eric Vaughn. It was a beautifully warm summer evening and I remember sitting at the front entrance smoking a Montecristo accompanied by Malcolm Parry.

My eldest daughter Ale who plays the classical guitar can handle a piano nicely and she likes to play with my youngest granddaughter, Lauren, 15, music for four hands.

Because of my mother’s sacrifice in selling her piano and my deep guilt, a year and a half ago we had the piano restored by Mike Storey and soon it will be tuned. The piano sits in what we call the piano room. We have old lawyer’s stacking bookcases and my vermillion upholstered psychiatric couch (the piano bench is also upholstered in the same material which also matches the brand new red piano felts.


Olena with Curtis Daily's baroque bass in our piano room


Some reading this (and this is long) might notice some photographs that have harpsichords.
For many years I was not impressed by the instrument. In large baroque orchestras I could never hear it. Solo harpsichord playing left me cold.

All that changed when Alexander Weimann landed in Vancouver to be the Artistic Director of the Pacific Baroque Orchestra. He explained how in many instances nothing he played as a continuo performer for a baroque orchestra was written and he had to improvise. With the connection between the harpsichord and my love for jazz my ears suddenly opened to the charms of the instrument.

Finally on taking photographs of pianists. This is really a cliché. I discovered that all has been done before and the one exception was the Stravinsky portrait by Arnold Newman. I ripped off the idea for a Globe&Mail article on Vancouver artist Rodney Graham.


Rodney Graham


Igor Stravinsky - Arnold Newman

Some years ago I was asked by Vancouver Pianist Jane Coop to take her portraits. I found a way which I liked (and so did she). It was that method that I used a few days ago on Corey Hamm. Another time I had to photograph noted local pianist Robert Silverman who had recorded Beethoven’s 32 Piano Sonatas. I decided to skip the piano on that occasion.


Jane Coop

Robert Silverman


Alexander Weimann preparing for Handel's Water Music


Michael Jarvis and his square Chickering with Paul Luchkow, Rebecca Stewart and Lauren Stewart


Craig Tomlinson harpsichord maker

Deuphine Lauver in our piano room

Bertrand Cuiller and Benjamin Perrot of La Reveuse with Matthew White centre




Jacques Ogg


Dave Brubeck - Photograph Richard Avedon

John Elliot Gardiner at the CBC

Michael Jarvis

Bramwell Tovey & Alexander Weimann

Alexander Weimann & Reginald Mobley


Alexander Weimann & Bramwell Tovey

Nicole Scriabin (grand niece to Alexander Scriabin) at our Chickering

Alexander Weimann

Laura Vanek - Novo Ensemble



Lauri Stallings & Owen Underhill at piano

Alexander Weimann

Corey Hamm & Nicole Li




Rosemary Waterhouse-Hayward at the Chickering


Jamie Parker & Edmond Kilpatrick

Kathryn Petersen still plays on keyboards but has switched to the accordion noir



Illustration by Graham Walker

Peggy Lee, Jane Hays, François Houle  & Marc Destrubé - Quartet for the End of Time

Rebecca Stewart at the Chickering

Milton Glasser pianist and dentist (he is the one who said, " I have been tickling the ivories for years.") with my daughter Ale in Mexico City in the early 70s


Mr. & Mrs Tomlinson,  Marc Destrubé, Byron Schenkman & Natalie Mackie









and the Orchis
Wednesday, November 13, 2019




July 1862 (Johnson L268) Emily Dickinson
 "You said 'Dark.' I know the Butterfly - and the Lizard - and the Orchis - Are not those your Countrymen?"



Today I went to see my new GP at the Kerrisdale Walk In Clinic.  Unlike my previous GP whom Rosemary and I had for many years, this GP did not want to flush my blocked ears of wax. She told me to pour warm olive oil into them every evening for two weeks and to go back and see her. Because I have been battling a recurring melancholy she told me to fill out some forms and then to give them to the girls at the front desk. I immediately told her that I have become a politically correct man of this century and that the girls at the desk were women. She smiled and I was off.

This politically correct old man of 77 still likes to find women who are willing to pose with roses on their chest in a way that nothing shows. I like to see that lovely curve of a woman's waist and hips and that extra bit of concaveness of the belly and the  belly button.

After looking at possible images to illustrate this blog I remembered that in my past I have not only used roses and clematis but also an orchid.  


 More Emily Dickinson: 

 November left and clambered up
You cannot make remembrance grow
November
the maple wears a gayer scarf 
 A melancholy of a waning summer
Just as green and as white
It's full as opera
I cannot dance upon my Toes
a door just opened on the street 
Amber slips away
Sleep
When August burning low
Pink Small and punctual
A slash of blue
I cannot dance upon my toes
Ah little rose
For hold them, blue to blue
The colour of the grave is green
 Her Grace is not all she has  
To know if any human eyes were near
Linda Melsted - the music of the violin does not emerge alone
The Charm invests her face
A sepal, a petal and a thorn
The Savior must have been a docile Gentleman
T were blessed to have seen
There is no frigate like a book
I pay in satin cash
Emily Dickinson's White Dress & a Hunter of Lost Souls
El vestido blanco - The White Dress
Water makes many beds
 The viola da gamba
 But sequence ravelled out of reach
 A parasol is the umbrella's daughter
 Without the power to die
 Lessons on the piny
Ample make this bed
How happy is the little stone
 Sleep is supposed to be
The shutting of the eye
I dwell in possibility
when Sappho was a living girl
In a library
 A light exists in spring
The lady dare not lift her veil
 I took my power in my hand
 I find my feet have further goals
 I cannot dance upon my toes
The Music of the Violin does not emerge alone
Red Blaze 
He touched me, so I live to know
Rear Window- The Entering Takes Away
Said Death to Passion
 We Wear the Mask That Grins And Lies
It was not death for I stood alone
The Music in the Violin Does Not Emerge Alone
I tend my flowers for thee
Lavinia Norcross Dickinson
Pray gather me anemone! 
Ample make her bed
His caravan of red 
Me-come! My dazzled face  
Develops pearl and weed

But peers beyond her mesh
Surgeons must be very careful
Water is taught by thirst
I could not prove that years had feet
April played her fiddle
A violin in Baize replaced
I think the longest hour
The spirit lasts
http://blog.alexwaterhousehayward.com/2014/03/i-left-them-in-ground-emily-dickinson.html
http://blog.alexwaterhousehayward.com/2014/01/i-felt-my-life-with-both-my-hands.html
http://blog.alexwaterhousehayward.com/2011/03/currer-bell-emily-dickinson-charlotte.html

http://blog.alexwaterhousehayward.com/2011/03/and-zero-at-bone-with-dirks-of-melody.html
http://blog.alexwaterhousehayward.com/2011/05/charm-invests-her-face.html

http://blog.alexwaterhousehayward.com/2011/06/i-could-not-see-to-see.html 
http://blog.alexwaterhousehayward.com/2011/06/blonde-assasin-passes-on.html
http://blog.alexwaterhousehayward.com/2012/12/you-almost-bathed-your-tongue.html
          



     

Previous Posts
Open Letter to the Honourable David Eby, Premier o...

Bach - Buxtehude & Infinity

My Rosemary's Two Faces

Arthur Erickson - My Rosemary & Felix Candela's Hy...

The Musicality of Seeing - Tiko Kerr

My Early Easter Lillies - Rosemary Would Have Smiled

The Fly Enters an Open Mouth

Three Baroque Musicians, One Donkey & a Duke (me)

Bless My Two Daughters & My Two Cats, Too

Rosemary's Corsican Hellebore & Napoleon



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1/22/12 - 1/29/12

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2/5/12 - 2/12/12

2/12/12 - 2/19/12

2/19/12 - 2/26/12

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3/4/12 - 3/11/12

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3/18/12 - 3/25/12

3/25/12 - 4/1/12

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4/22/12 - 4/29/12

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6/17/12 - 6/24/12

6/24/12 - 7/1/12

7/1/12 - 7/8/12

7/8/12 - 7/15/12

7/15/12 - 7/22/12

7/22/12 - 7/29/12

7/29/12 - 8/5/12

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9/23/12 - 9/30/12

9/30/12 - 10/7/12

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10/21/12 - 10/28/12

10/28/12 - 11/4/12

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11/11/12 - 11/18/12

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11/25/12 - 12/2/12

12/2/12 - 12/9/12

12/9/12 - 12/16/12

12/16/12 - 12/23/12

12/23/12 - 12/30/12

12/30/12 - 1/6/13

1/6/13 - 1/13/13

1/13/13 - 1/20/13

1/20/13 - 1/27/13

1/27/13 - 2/3/13

2/3/13 - 2/10/13

2/10/13 - 2/17/13

2/17/13 - 2/24/13

2/24/13 - 3/3/13

3/3/13 - 3/10/13

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4/28/13 - 5/5/13

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7/28/13 - 8/4/13

8/4/13 - 8/11/13

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8/25/13 - 9/1/13

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9/22/13 - 9/29/13

9/29/13 - 10/6/13

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10/13/13 - 10/20/13

10/20/13 - 10/27/13

10/27/13 - 11/3/13

11/3/13 - 11/10/13

11/10/13 - 11/17/13

11/17/13 - 11/24/13

11/24/13 - 12/1/13

12/1/13 - 12/8/13

12/8/13 - 12/15/13

12/15/13 - 12/22/13

12/22/13 - 12/29/13

12/29/13 - 1/5/14

1/5/14 - 1/12/14

1/12/14 - 1/19/14

1/19/14 - 1/26/14

1/26/14 - 2/2/14

2/2/14 - 2/9/14

2/9/14 - 2/16/14

2/16/14 - 2/23/14

2/23/14 - 3/2/14

3/2/14 - 3/9/14

3/9/14 - 3/16/14

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3/23/14 - 3/30/14

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4/20/14 - 4/27/14

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5/25/14 - 6/1/14

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9/21/14 - 9/28/14

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11/23/14 - 11/30/14

11/30/14 - 12/7/14

12/7/14 - 12/14/14

12/14/14 - 12/21/14

12/21/14 - 12/28/14

12/28/14 - 1/4/15

1/4/15 - 1/11/15

1/11/15 - 1/18/15

1/18/15 - 1/25/15

1/25/15 - 2/1/15

2/1/15 - 2/8/15

2/8/15 - 2/15/15

2/15/15 - 2/22/15

2/22/15 - 3/1/15

3/1/15 - 3/8/15

3/8/15 - 3/15/15

3/15/15 - 3/22/15

3/22/15 - 3/29/15

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10/4/15 - 10/11/15

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10/25/15 - 11/1/15

11/1/15 - 11/8/15

11/8/15 - 11/15/15

11/15/15 - 11/22/15

11/22/15 - 11/29/15

11/29/15 - 12/6/15

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12/13/15 - 12/20/15

12/20/15 - 12/27/15

12/27/15 - 1/3/16

1/3/16 - 1/10/16

1/10/16 - 1/17/16

1/31/16 - 2/7/16

2/7/16 - 2/14/16

2/14/16 - 2/21/16

2/21/16 - 2/28/16

2/28/16 - 3/6/16

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3/13/16 - 3/20/16

3/20/16 - 3/27/16

3/27/16 - 4/3/16

4/3/16 - 4/10/16

4/10/16 - 4/17/16

4/17/16 - 4/24/16

4/24/16 - 5/1/16

5/1/16 - 5/8/16

5/8/16 - 5/15/16

5/15/16 - 5/22/16

5/22/16 - 5/29/16

5/29/16 - 6/5/16

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7/24/16 - 7/31/16

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9/25/16 - 10/2/16

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10/30/16 - 11/6/16

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11/13/16 - 11/20/16

11/20/16 - 11/27/16

11/27/16 - 12/4/16

12/4/16 - 12/11/16

12/11/16 - 12/18/16

12/18/16 - 12/25/16

12/25/16 - 1/1/17

1/1/17 - 1/8/17

1/8/17 - 1/15/17

1/15/17 - 1/22/17

1/22/17 - 1/29/17

1/29/17 - 2/5/17

2/5/17 - 2/12/17

2/12/17 - 2/19/17

2/19/17 - 2/26/17

2/26/17 - 3/5/17

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3/19/17 - 3/26/17

3/26/17 - 4/2/17

4/2/17 - 4/9/17

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4/23/17 - 4/30/17

4/30/17 - 5/7/17

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5/14/17 - 5/21/17

5/21/17 - 5/28/17

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7/2/17 - 7/9/17

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9/24/17 - 10/1/17

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10/22/17 - 10/29/17

10/29/17 - 11/5/17

11/5/17 - 11/12/17

11/12/17 - 11/19/17

11/19/17 - 11/26/17

11/26/17 - 12/3/17

12/3/17 - 12/10/17

12/10/17 - 12/17/17

12/17/17 - 12/24/17

12/24/17 - 12/31/17

12/31/17 - 1/7/18

1/7/18 - 1/14/18

1/14/18 - 1/21/18

1/21/18 - 1/28/18

1/28/18 - 2/4/18

2/4/18 - 2/11/18

2/11/18 - 2/18/18

2/18/18 - 2/25/18

2/25/18 - 3/4/18

3/4/18 - 3/11/18

3/11/18 - 3/18/18

3/18/18 - 3/25/18

3/25/18 - 4/1/18

4/1/18 - 4/8/18

4/8/18 - 4/15/18

4/15/18 - 4/22/18

4/22/18 - 4/29/18

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5/13/18 - 5/20/18

5/20/18 - 5/27/18

5/27/18 - 6/3/18

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6/24/18 - 7/1/18

7/1/18 - 7/8/18

7/8/18 - 7/15/18

7/15/18 - 7/22/18

7/22/18 - 7/29/18

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8/19/18 - 8/26/18

8/26/18 - 9/2/18

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9/16/18 - 9/23/18

9/23/18 - 9/30/18

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10/7/18 - 10/14/18

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11/4/18 - 11/11/18

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11/18/18 - 11/25/18

11/25/18 - 12/2/18

12/2/18 - 12/9/18

12/9/18 - 12/16/18

12/16/18 - 12/23/18

12/23/18 - 12/30/18

12/30/18 - 1/6/19

1/6/19 - 1/13/19

1/13/19 - 1/20/19

1/20/19 - 1/27/19

1/27/19 - 2/3/19

2/3/19 - 2/10/19

2/10/19 - 2/17/19

2/17/19 - 2/24/19

3/3/19 - 3/10/19

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3/17/19 - 3/24/19

3/24/19 - 3/31/19

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10/20/19 - 10/27/19

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11/24/19 - 12/1/19

12/1/19 - 12/8/19

12/8/19 - 12/15/19

12/15/19 - 12/22/19

12/22/19 - 12/29/19

12/29/19 - 1/5/20

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1/19/20 - 1/26/20

1/26/20 - 2/2/20

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2/23/20 - 3/1/20

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3/22/20 - 3/29/20

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11/8/20 - 11/15/20

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11/22/20 - 11/29/20

11/29/20 - 12/6/20

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12/13/20 - 12/20/20

12/20/20 - 12/27/20

12/27/20 - 1/3/21

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1/17/21 - 1/24/21

1/24/21 - 1/31/21

2/7/21 - 2/14/21

2/14/21 - 2/21/21

2/21/21 - 2/28/21

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3/14/21 - 3/21/21

3/21/21 - 3/28/21

3/28/21 - 4/4/21

4/4/21 - 4/11/21

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5/16/21 - 5/23/21

5/30/21 - 6/6/21

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